"Is there any place where Julius Eastman's music could not be performed?" ask choreographer and dancer Eva-Maria Schaller and Ensemble Studio Dan as they perform and "re-dance" his composition Femenine (1974) in various public spaces in Vienna. They take Eastman's experimentation with unconventional performance formats as the starting point for their attempt to penetrate the environment and the world around them and "provoke a liberating intoxication."

Julius Eastman (1940-1990), composer of minimal music, was both rising star and underdog of the New York avant-garde music scene of the 1970s. He conveyed his resistance to all conventions already with the titles of his pieces, such as Evil Nigger, Gay Guerrilla, as well as with their radical content.

Eastman's score gives the highest formal clarity and great freedom for each player. The dancers adopt this principle and become part of the composition. They challenge each other, play the space, listen together - kinetic empathy is central to the success of the choreography at every moment. In the gradual organic increase of sound and dynamics, music and movement depend on each other.